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amano — JOURNAL
The role of thinking.
Quarterly printed newspaper about art, architecture, design and ways of living. 20-page tabloid, numbered circulation of 3,000 copies, distribution aimed at those who decide.
The role of thinking.
Quarterly printed newspaper about art, architecture, design and ways of living. 20-page tabloid, numbered circulation of 3,000 copies, distribution aimed at those who decide.
The world is full of screens. Paper is missing.
amano — JOURNAL was born from a simple conviction: there is plenty of quick information. What's missing is a place to think slowly. And, to last, this place needs to have weight, texture and time.
Each edit is an object, not content. It is designed to be read with your hands, kept on a shelf and revisited years later, not scrolled through and forgotten in a few seconds.
There is no traditional advertising. Brand presence occurs as editorial co-authorship, and there is a ceiling for it in each edition.
Made to last, not to discard.
A print publication dedicated to design, art and contemporary Latin American culture. Each copy is numbered and each edition is collectible.
The specifications below exist for one reason only: that the newspaper is kept after the first reading, and not thrown away.
Quarterly, four editions per year, with edition and meeting dates set at the beginning of each quarter.
Twenty pages in tabloid format, Pollen paper in the core, with a natural touch and comfortable reading, with a fold and finish designed for longevity.
Three thousand copies per edition, with batch numbering. Twelve thousand copies in circulation throughout the year.
8 to 12 pages per issue are dedicated to branded, full-page curatorial content in editorial language. The ceiling is a rule, not a goal.
Minimalist, with contemporary typography and original photography. High-fidelity offset printing, with curatorial review and preflight of files before each print run.
Directed by the club's base and curated points, and opened by its own vehicle in circulation. Always for those who read carefully.
Specifications subject to editorial adjustments between editions, without changing circulation or the ceiling of branded curatorial pages.
Nine states of being.
Every edition orbits a matrix of nine states. They are not fixed sections or editorials: they are lenses. Each edition reorganizes the matrix to propose new readings between people, spaces, objects and ideas.
The matrix is also what connects the newspaper to the meetings. An agenda is born as a state of being, becomes printed material and then becomes a table, experience and conversation.
The choice of states for each edition is stated in the opening curatorial letter, along with the diagram showing method and criteria.
Twenty blocks. The same architecture in every edition.
An editorial newspaper does not improvise its structure. Each edition follows the same sequence of twenty blocks, which gives predictability to who produces, who reads and who sponsors.
The highlighted blocks are the branded curatorial pages. They occupy a defined position, follow the language of the newspaper and never appear as an advertisement.
Eight brand co-authorship blocks per edition, in fixed positions. The order and position follow editorial criteria, not purchase order.
The four editions of the cycle.
Each edition has a theme, guideline, states of being and a couple of hooks: an editorial discussion table and an in-person experience. Editorial and meeting are born together, not in sequence.
The complete calendar, with closing dates, tests and meetings, is set at the beginning of each quarter.
The power of beginnings: the light that reveals texture, the silence that organizes the look, the rituals that anchor the day and the work. Architectures that breathe, kitchens that welcome, materials that warm without shouting. An invitation to precision: less noise, more intention.
A dive into the materials that build character: wood, stone, metals, fibers, mortars, mineral paints. Honest processes, workshops, know-how. Textures that count time and use. How technique, maintenance and good manufacturing design lasting beauty.
From the gate to the square, from work to refuge. How we move, connect and design routes that make sense. Gentle mobility, hospitality, contemporary clubs, living libraries, art on the way. The house that opens to the neighborhood; the neighborhood that returns care to the home.
An investigation into how we design life, and how life, in turn, redesigns our spaces. From design to routine: architectural decisions, light design, silence, maintenance and material choices as instruments of meaning. Curation, detachment, continuity: editing is building.
Ten letters, handwritten, to open it all up.
Before existing on the market, amano — JOURNAL exists as an invitation. The opening of the project consists of just ten cards. Not articles, not formatted opinions: letters written by hand, in each author's time, without an agenda and without a briefing.
They are intimate reflections on the moment we are living in and on what, in each person's view, deserves to remain when all this is over.
President of the Oscar Niemeyer Museum.
Author of Proud South.
Co-author of Proud South.
President of the Salone del Mobile.Milano.
Names to be confirmed, with cultural support from architect Marcos Bertoldi. The edition is available free of charge and is aimed at architects, designers, galleries, developers and people with a strong interest in culture, the city and contemporary thought.
The invitation is signed by Adriano Tadeu Barbosa and Marcus Yabe, founders, and editorially led by Camila Gino, editor-in-chief.
An audience that decides, not scrolls.
Architects and designers, curators and galleries, design and lifestyle brands, developers, branding and innovation leaders. Different audiences gathered around the same appreciation: reading slowly.
It is a base formed by invitation, with high cultural frequency, strong appreciation of curation and authorial content, and a high organic referral rate. These are people who share the newspaper because they actually read it.
He runs a boutique interiors studio. Searches for materials and references with aesthetic rigor, decides on brand activations and chooses which events to participate in. It specifies, prescribes and is heard.
Leads branding at a developer. Look for content that connects product, city and culture, and measures value by qualified relationships, not reach.
Program exhibitions and activations. It values editorials with good photography, authorial text and circulation to the right audiences, and avoids anything that looks like advertising.
Directed and open, never mass.
The three thousand copies of each edition are circulated in two ways, always in places where the design is in tune with whoever reads it.
Registered on amano — CLUB, concierge at Pátio Batel, Hotel Nomaa, dsgselo, ôda design, SCA, Galeria Simões de Assis and Centro Europa, among other points discussed.
To increase contact with the public, the vehicle amano It circulates through parks, streets and places of high cultural frequency, creating meeting points with readers who are not yet part of the club. Each apparition is also a photographic record.
Paper is coming back. And it's no coincidence.
It's not nostalgia. It's a response to real fatigue: the faster the world scrolls, the more value that demands time, weight and presence gains.
The creative economy is an economic bloc of its own.
A design newspaper doesn't live on a niche. It lives from a sector that the UN and UNESCO classify as a vector of development and that already supports urban public policies on all continents.
London generates more than £100 billion a year from creative industry. Paris articulates art, luxury and hospitality as economic assets. Seoul has established itself as a global aesthetic epicenter through a deliberate strategy of cultural power.
Declared divergence. The available sources do not converge on the relative weight of the sector: there are estimates of around 6% of the world economy with approximately 30 million professionals, and estimates of around 3.1% with approximately 48 million. The difference comes from the selection of activities included in the account. We prefer to present both readings rather than choosing the most convenient one.
Classification of fonts according to the OFFICIAL standard — amano: T1 for consultancy and reference body, T2 for official or statistical source, T3 for commercial market research.
Eight brands per year. No more than that.
The brand presence in amano — JOURNAL is not an advertisement: it is editorial co-authorship. The brand gets one curatorial page per edition, written about its universe and not about her, created by the house's curators and aesthetically approved before going to the printer.
The eight-share limit is not a marketing shortage. It is the condition that keeps the newspaper readable as a newspaper.
Curatorial page in each of the four editions, created by the curators and guided by states of being. Copyright photography or approved collection, with rights of use for portfolio and own channels in digital version.
Four edition launches with VIP invitations and discreet environmental branding, four editorial discussion tables with participation when there is thematic adherence, and four LIVING experiences — amano with sensory co-creation when relevant.
Distribution aimed at those who decide on architecture, design, art and incorporation. Circulation in studios, galleries and influential spaces, with direct conversations with opinion leaders.
Curatorial governance with layout and text approval, credits in newspaper language and coherence required with materials, processes and product truth. Elegance as a rule, not as a request.
Short reports after each meeting with learnings and next moves, and quarterly sessions to align themes and calendar. Decisions guided by method, not by impression.
Access to amano — CLUB, connections by amano — CONNECTIONS and natural paths for special projects and experiences co-created with ESSÊNCIA — amano.
Twelve-month contract from signature, with dates for the four editions and twelve meetings aligned at the beginning of each quarter. There may be exclusivity per category in specific editions, depending on availability and adherence.
Which protects the experience.
These rules apply to all curatorial brands and all meetings. They exist because the elegance of the product depends on them, and they are presented before negotiation, never after.
There are no advertisements, sales pitches, intrusive toasts or commercial speech at meetings. Everything is content, experience and conversation.
The guest list is created by the house's curators. Brand suggestions are welcome and undergo approval to preserve the public profile.
There is a limit on curatorial pages per edition and activations per meeting. Order and position follow editorial criteria, not purchase order.
All participation is constructed as content about the brand's universe, not about the brand. Text, image and layout undergo aesthetic approval.
Invitations are personal. Exchanges must be informed to revalidate the guest profile. Extra invitations depend on availability.
Photo and video capture is done by the house team, with image and privacy terms accepted by all guests. The brand receives a set of photos with editorial credit and license.
The full set of standards and policies, including material deadlines, embargoes and category conflicts, are part of the contract and are delivered with the proposal.
The newspaper is the gateway to a universe.
Who reads amano — JOURNAL comes into contact with a larger system, built by the house over time. Each front feeds and is fed by the editorial.
Relationships and community by invitation, formed by design and culture. get to know →
In-person meetings and experiences where the philosophy of the house becomes an experience. get to know →
Strategic relationships and presences conducted with cultural criteria. get to know →
Creativity and innovation consultancy at Casa Criativa. get to know →
Lectures, applied Claude workshops, mediations and courses. get to know →
Co-creation with brands, professionals and artists. get to know →
This is not about printing words on paper. It's about giving an idea time to mature before it reaches you.
Brands and institutions can join the newspaper on an editorial co-authorship basis, never as an advertising space. The formats, conditions and closing calendar are in the media kit, sent upon request.
We send the complete document with audience, scope, participation formats, deadlines and investment ranges for future editions.
Distribution is targeted and free. The main base are the members of amano — CLUB, and copies are available at curated points. Admission to the club is by invitation and curation.
Quarterly, four editions per year. 20-page tabloid, Pollen paper in the core, offset printing, circulation of 3,000 numbered copies per batch. Twelve thousand copies circulate throughout the year.
Because the range is part of the product. Three months give each issue real time to mature, and it is this time that separates the newspaper from a current affairs publication. The quarterly cycle also matches the meeting calendar.
Yes, under editorial co-authorship, with one curatorial page per edition. What doesn't exist is advertising space in the conventional sense: no advertisement, no promotional stamp, no sales call. There are eight quotas per year.
Four curatorial pages per year, presence at twelve meetings with up to four invitations per edition, four digital editorial micro-pieces, post-event reports, quarterly alignment sessions and access to the house's ecosystem. The details are in the curated brands section.
The brand aesthetically approves and validates technical information. The creation is curated and the text is about the brand's universe, not about the brand. This distinction is what makes the page function as content rather than an ad.
Annual quota, with a twelve-month contract and position reservation in order of confirmation. There are different conditions for founding brands and installment options. The value is presented in the proposal, after the adherence conversation.
There may be, in specific editions, depending on availability and thematic adherence. Conflicts between brands in the same category are assessed on a case-by-case basis before booking.
We do not maintain active social networks for the newspaper. It was a choice, not an absence. Certain ideas need silence to exist with integrity. Digital micro-pieces from curated brands circulate on their channels.
Distribution is defined by recipient profile, not geography. The vehicle itself circulates physically, and the managed base reaches those who are relevant regardless of the location.
Every relationship starts with a conversation. Tell us the context and the challenge, and we will respond with an initial reading of the scenario.
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